A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Eric Stanton (Dana Andrews), thrown off a bus for not having the fare, begins to frequent a diner called "Pop's Eats" , whose main attraction is a beautiful waitress by the name of Stella seems disinterested in Eric, he decides if he had money she would pay attention to his advances. He marries June Mills ( Alice Faye ) for her money, and Stella is mysteriously murdered. Even though June learns of Eric's dishonest plans, she still loves him. It is with her support that he investigates the killing on his own, eventually discovering the shocking identity of the real killer.Written by
Marc Andreu <email@example.com>
Alice Faye, married to Phil Harris and raising two young daughters, then tiring after nearly a dozen years of hectic moving-making, and disappointed with the outcome of this release, chose to leave Twentieth Century-Fox before her contract expired. Eventually, she would return to work at the studio once, playing the mother role in a bland filming of Rodgers and Hammerstein's State Fair (1962). Originally, Miss Faye had turned down the band-singer part in the more satisfying 1945 version. See more »
The windows of the San Francisco Bank and Trust Co. advertise "Safety Deposit Boxes". The correct terminology is Safe Deposit Boxes. See more »
[last lines, June is sitting in a car outside the diner]
[Eric looks over to June, she motions him to get into the car, he does]
[Eric nestles up to his wife]
[They drive off into the night]
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The opening credits appear on the screen as a series of road signs seen through the windshield of a bus driving at night time. See more »
This neglected film noir gem by the great Otto Preminger is better and more poetic than Preminger's previous classic "Laura". For one thing, Preminger's fluid camera work and long takes here reach perfection, pointing them toward his mature long takes and objectivity in 1950s with such dazzling masterworks as "Where the Sidewalk Ends", "Angel Face", "Anatomy of a Murder". Each scene is shot and elaborated with precision, with minimum amount of edits to elucidate the emotions of the characters.
Also, Dana Andrews, with all his unique ambiguity and minimalism, turns in one of his finest performances ever; just a hint of his outstanding performance (and probably his best) in "Where the Sidewalk Ends". Andrews' co-stars Alice Faye and a sluttish Linda Darnell are great as well. The magnificent chiaroscuro photography by Joseph LaShelle has certain crispness and lucidity that is similar to Anthony Mann's "T-Men".
Some may find the second half of the film quaintly melodramatic and David Raksin's romantic score is admittedly less memorable than "Laura" but "Fallen Angel" deserves to be seen and viewed within its credentials.
The effect is haunting and breathtaking.
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